Animating Unpredictable Effects

Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing

Droplets, splashes and sprays: highly detailed liquids in visual effects production.

An often misunderstood or under-appreciated feature of the visual effects pipeline is the sheer quantity of components and layers that go into a single shot, or even, single effect. Liquids, often combining waves, splashes, droplets and sprays, are a particular example of this. Whilst there has been a huge amount of research on liquid simulation in the last decade or so, little has been successful in reducing the number of layers or elements required to create a plausible final liquid effect. Furthermore, the finer-scale phenomena of droplets and sprays, often introduced in this layered approach and crucial for plausibility, are some of the least well catered-for in the existing toolkit. In lieu of adequate tooling, creation of these elements relies heavily on non-physical methods, bespoke setups and artistic ingenuity. This project explores physically-based methods for creating these phenomena, demonstrat- ing improved levels of detail and plausibility over existing non-physical approaches. These provide an alternative to existing workflows that are heavily reliant on artistic input, allowing artists to focus efforts on creative direction rather than trying to recreate physical plausibility. We explore various approaches to increasing the level of detail captured in physically-based liquid simulations, developing a collection of tools that improve existing workflows. First, we investigate the potential of a re-simulation approach to increasing artist iteration on fluid simulations using previous simulation data. Following this, a novel droplet interaction model for ballistic particle simulations is developed to introduce higher levels of detail in simulations of liquid droplets and sprays. This allows physically-plausible interactions between droplet particles to be modelled efficiently and helps to create realistic droplet and spray behaviours. Then, to maximise the quality of the results of these and other particle-based simulations, we develop a high quality particle surfacing algorithm to handle the varied nature of inputs common in production. Finally, we discuss the development of an expression language to manipulate point and volume data commonly used in creating these simulations, as well as elsewhere throughout visual effects. This research was driven directly by production requirements in partnership with a world- leading visual effects studio, DNEG. Projects have been developed to immediately integrate into production, using efficient, industry-standard, open technologies such as OpenVDB. It is shown that the toolkit for splashing liquids, even at fine-scales, can be improved by incorporating greater physical motivation further demonstrating the importance of physical simulation in visual effects and suggesting effects similarly reliant on artistic input (e.g. character/skin deformation) may benefit from increased physical correctness

Simulation FX: Cinema and the R&D Complex

This study looks at the ongoing development of tools and practices used to animate nonlinear physical phenomena, such as the crash of ocean waves or the movement of human hair, in the visual effect and animation industries. These tools and practices are developed in a nexus between public funding, research universities, the film industry, and various other sectors, such as aerospace and meteorology. This study investigates how technological development became integrated with film production, and in turn how epistemic paradigms were shared between the film industry, scientific research institutions and other industries. At the heart of these animation tools and practices, and the networks of institutions that developed them, is a way of thinking that seeks to make use of unpredictable nonlinear complexity by shaping it toward specific applications. I observe this in the way animation and visual effect studios seek the realistic appearance of nonlinear natural movement through simulation, while also implementing technologies and practices to direct the look of these simulations. I also observe this in a variety of related examples, from the way the concept of research and development unites science and application, to the way management science promotes hands off approaches that preserve the unpredictable nature of creative work. My methods consist of charting the circulation of ideas, technologies, moving images and people through contact zones such as the computer science special interest group ACM SIGGRAPH, using archival research of trade communications, scholarly publications and conference proceedings, as well as interviews with industry workers

Implicit smoothed particle hydrodynamics model for simulating incompressible fluid-elastic coupling

Fluid simulation has been one of the most critical topics in computer graphics for its capacity to produce visually realistic effects. The intricacy of fluid simulation manifests most with interacting dynamic elements. The coupling for such scenarios has always been challenging to manage due to the numerical instability arising from the coupling boundary between different elements. Therefore, we propose an implicit smoothed particle hydrodynamics fluid-elastic coupling approach to reduce the instability issue for fluid-fluid, fluid-elastic, and elastic-elastic coupling circumstances. By deriving the relationship between the universal pressure field with the incompressible attribute of the fluid, we apply the number density scheme to solve the pressure Poisson equation for both fluid and elastic material to avoid the density error for multi-material coupling and conserve the non-penetration condition for elastic objects interacting with fluid particles. Experiments show that our method can effectively handle the multiphase fluids simulation with elastic objects under various physical properties

A coupled finite volume and material point method for two-phase simulation of liquid-sediment and gas-sediment flows

Mixtures of fluids and granular sediments play an important role in many industrial, geotechnical, and aerospace engineering problems, from waste management and transportation (liquid--sediment mixtures) to dust kick-up below helicopter rotors (gas--sediment mixtures). These mixed flows often involve bulk motion of hundreds of billions of individual sediment particles and can contain both highly turbulent regions and static, non-flowing regions. This breadth of phenomena necessitates the use of continuum simulation methods, such as the material point method (MPM), which can accurately capture these large deformations while also tracking the Lagrangian features of the flow (e.g.\ the granular surface, elastic stress, etc.). Recent works using two-phase MPM frameworks to simulate these mixtures have shown substantial promise; however, these approaches are hindered by the numerical limitations of MPM when simulating pure fluids. In addition to the well-known particle ringing instability and difficulty defining inflow/outflow boundary conditions, MPM has a tendency to accumulate quadrature errors as materials deform, increasing the rate of overall error growth as simulations progress. In this work, we present an improved, two-phase continuum simulation framework that uses the finite volume method (FVM) to solve the fluid phase equations of motion and MPM to solve the solid phase equations of motion, substantially reducing the effect of these errors and providing better accuracy and stability for long-duration simulations of these mixtures

A discontinuous Galerkin method for the Vlasov-Poisson system

A discontinuous Galerkin method for approximating the Vlasov-Poisson system of equations describing the time evolution of a collisionless plasma is proposed. The method is mass conservative and, in the case that piecewise constant functions are used as a basis, the method preserves the positivity of the electron distribution function and weakly enforces continuity of the electric field through mesh interfaces and boundary conditions. The performance of the method is investigated by computing several examples and error estimates associated system's approximation are stated. In particular, computed results are benchmarked against established theoretical results for linear advection and the phenomenon of linear Landau damping for both the Maxwell and Lorentz distributions. Moreover, two nonlinear problems are considered: nonlinear Landau damping and a version of the two-stream instability are computed. For the latter, fine scale details of the resulting long-time BGK-like state are presented. Conservation laws are examined and various comparisons to theory are made. The results obtained demonstrate that the discontinuous Galerkin method is a viable option for integrating the Vlasov-Poisson system.Comment: To appear in Journal for Computational Physics, 2011. 63 pages, 86 figure